OPERA America draws on resources and expertise from within and beyond the opera field to advance a mutually beneficial agenda that serves and strengthens the field through programs in the following categories:

Creation: Artistic services that help artists and companies increase the creativity and excellence of opera productions, especially North American works;

Presentation: Opera company services that address the specific needs of staff, trustees and volunteers;

Enjoyment: Education, audience development and community services that increase all forms of opera appreciation.

New York City is home to the nation’s largest concentration of performing and creative artists, professional training institutions and music businesses. A majority of OPERA America’s Professional Company Members hold or attend auditions in New York City annually, and opera leaders from Europe and around the world are regular visitors.

In response to the pressing need for appropriate space in New York by members who suffered from the lack of good audition and work facilities in the city, OPERA America created the National Opera Center. The Opera Center serves many functions that support the artistic and economic vitality of the field by providing its constituents with a range and level of services never before possible.

OPERA America serves members across the entire opera field through research, publications and services in support of the creation, performance and enjoyment of opera. Our work is only possible with the generous support of donors dedicated to the future of opera in America.

Act I:Christine Mannon awaits Adam Bryant, the sea captain with whom she fell in love in the absence of her husband, General Ezra Mannon. Lavinia Mannon, their daughter, having discovered her mother's affair, warns that her father is returning from the Civil War that night. Lavinia learns from Jed, an old servant, that Adam is the bastard son of her father's late brother and a servant girl. Both died cursing the Mannons for cutting them off from the family. Lavinia, herself infatuated with Adam, believes his liaison with Christine is prompted by revenge. When confronted with Lavinia's suspicions, Christine admits the truth. Adam gives Christine a vial of poison she asked for and rushes away. Ezra is welcomed home by townspeople, neighbor Peter Niles (who has been courting Lavinia), and Peter's sister Helen (in love with Lavinia's brother Orin, whose return is expected in several days). Ezra sees Christine in a window and rushes into the house, leaving Lavinia resentful. Ezra begs Christine's forgiveness for the cold marriage he has given her. Now he hopes for a new beginning. When Christine tells him it is too late, he accuses her of wishing him dead. This provokes her into revealing her love for his bastard nephew. The furious Ezra is suddenly seized by pain. He calls for his medicine, but Christine substitutes the poison. Ezra cries out for Lavinia, who hears his last words accusing Christine.

Act II:Lavinia ushers her brother Orin into the parlor and tries to ally him with her against Adam. Christine begs Orin to trust her, but he warns that if Adam comes there he will kill him. Lavinia puts the vial of poison on Ezra's body, then tells Orin to let their mother in. Christine screams when she sees the poison. Lavinia rushes Orin away as Christine begs God to punish her but spare Adam. On his ships's deck, Adam, enslaved by his love for Christine, bids farewell to the sea. When Christine arrives, Adam leads her to the cabin below. Lavinia and Orin, who have followed her, spy on the couple from the skylight. Christine tells Adam that Lavinia knows about the murder. Adam agrees to flee with Christine in a few days. As he escorts her off the ship, Lavinia and Orin slip down into the cabin. When Adam returns, they murder him. Outside the house at dawn, Christine hears Orin exclaim that he has killed Adam. On the brink of madness, Christine imagines herself in Adam's arms and rushes into the house. When a pistol shot is heard, Lavinia proclaims that justice has been done.

Act III:Lavinia returns home from a year long trip with Orin. She reminds him that they traveled to forget the past. After Peter and Helen welcome them home, Orin takes Helen aside to speak privately. Peter is overwhelmed by Lavinia's new beauty, and announces to Orin that Lavinia has agreed to marry him. Helen, now clutching an envelope containing a manuscript Orin has entrusted to her, asks Lavinia's help in saving him from himself. Lavinia recovers the envelope and Orin, defeated, dismisses Helen. He tells Lavinia he has written a history of the Mannon crimes. He dreads the thought of losing her, to the point of threatening legal punishment to keep her bound to him. Finally crossing the boundary of sanity, he attempts to make love to her. Horrified, Lavinia commands that he die and set her free. He locks himself in the study and shoots himself. Peter assures Lavinia that they will soon marry and leave the town forever. She desperately embraces him, but inadvertently calls him "Adam." Peter now understands that she always loved Adam, that Orin tried to tell him and tried to warn Helen of the family's dark secrets. Lavinia sends Peter away and asks Jed to close the shutters of the house. Summoning the family ghosts to welcome her, she seals herself in the Mannon "tomb."

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All OPERA America facilities are handicapped accessible. The National Opera Center features ground-level entry with elevators to the venue. All spaces are wheelchair accessible, and modular seating can be arranged to accommodate wheelchair users for all programs and performances. Handicapped accessible restrooms are available on all floors.